Moogfest Q+A: Eric Volta

“My intention, when I create, is honest,” says Moogfest performer Eric Volta. “It’s my bond with my instruments and more importantly, it’s a projection of my soul in some ways.”

Volta is a wearer of hats, writer of comics and crafter of music that lies somewhere between house and techno. He’s also a bit of a man of mystery, based between Londan and Berlin and using his Facebook bio section to thank those who write to him rather than to write about himself.

Eric Volta plays Moogfest on Thursday, April 24 at Asheville Music Hall, as part of the No. 19 showcase. He goes on at 9:30 p.m.

Mountain Xpress: Beyond amplification and electronic instruments, what ways do you see music/art and technology intersecting?

Eric Volta: Well, I’m really loving all the trans-humanist and post-humanist articles that have been coming out over the years, and if we can think that we might be neurologically linked to our instruments and machines in the years to come, it could be interesting to think that our instruments are no longer an extension of ourselves but really a fully integrated part of our anatomy.

How do you feel about playing a festival that’s equally dedicated to technology/invention and to music?

Moog has been pivotal in the development of electronic music and music as a whole. It’s a bit surreal for me still. I got tweeted by Moog [Music] – that’s just really unreal for me. It’s like being bigged-up by one of the Egyptian Gods. It’s really the coolest thing for me that I can think of.

What Moog instruments do you play or wish you owned?

I have a Voyager. I would love more. I would love a Moog modular!

What other Moogfest artist would you most like to collaborate with?

Kraftwerk! Kraftwerk! Kraftwerk! Laurie Anderson [who, unfortunately, had to cancel her appearance at this year’s festival]. Moroder! I’ve been playing Kraftwerk and Moroder in my sets, lately.

What are the top three sounds, sights or ideas inspiring you recently?

My music is written for me. Its a personal experience, and it always has been. I think the transference has a deeper connection to the listener because of this. My intention, when I create, is honest. Very honest. It’s my bond with my instruments and more importantly, it’s a projection of my soul in some ways. And I see people feel it this way. It’s quite amazing how this transference works. And that it can be duplicated, distributed and it can reach out all over the world.

As a listener, what experience do you seek from music?

When I was younger, music was such an escape. Sometimes a way to forget something bad, or a way to enhance something special. Nothing is more soul-saving than getting a broken heart and finding solace in the most heart-breaking music. Misery loves company and it helps people to survive and get by. But it also unites. I suppose what I really love to hear is someone pouring their soul into a recording.

About Alli Marshall

Alli Marshall is the arts section editor at Mountain Xpress. She's lived in Asheville for more than 20 years and loves live music, visual art, fiction and friendly dogs. Alli is the winner of the 2016 Thomas Wolfe Fiction Prize and the author of the novel "How to Talk to Rockstars," published by Logosophia Books. Follow me @alli_marshall